Visual Literacy of Infographic Review in Dkv Students’ Works in Bina Nusantara University
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Discover Materials Infographic Challenge
Website: www.discovermaterials.uk Twitter: @DiscovMaterials Instagram: @discovermaterials Email: [email protected] Discover Materials Infographic Challenge The Challenge: We would like you to produce an infographic that highlights and explores a material that has been important to you during the pandemic. We will be awarding prizes for the top two infographics based upon the following criteria: visual appeal content (facts/depth/breadth) range of sources Entries must be submitted to: [email protected] by 9pm (BST) on Sunday 2nd August and submitted as a picture file. Please include your name, as the author of the infographic, within the image. In submitting the infographic to be judged, you are agreeing that the graphic can be shared by Discover Materials more widely. Introduction: An infographic provides us with a short, interesting and timely manner to communicate a complex idea with the wider public. An important aspect of using an infographic is that our target is to make something with high shareability and this can be achieved by telling a good story with a design that conveys data in a manner that is easily interpreted, as highlighted in Figure 1. In this challenge we want you to consider a material that has been important in the pandemic. There are a huge range of materials that have been vitally important to us all during these chaotic and challenging times. We could imagine materials that have been important in personal protection & healthcare, materials that Figure 1: The overlapping aspects of a good infographic enable our new forms of engagement and https://www.flickr.com/photos/dashburst/8448339735 communication in the digital world, or the ‘day- to-day’ materials that we rely upon and without which we would find modern life incredibly difficult. -
Course Team NATIONAL OPEN UNIVERSITY of NIGERIA
COURSE GUIDE COURSE GUIDE FMC 212 VISUAL LANGUAGE OF FILM Course Team Dr. Angela Nkiru Nwammuo (Course Developer/Writer) - Chukwuemeka Odumegwu Ojukwu University Chuks Odiegwu – Enwerem (Course Coordinator) - NOUN NATIONAL OPEN UNIVERSITY OF NIGERIA 1 © 2021 by NOUN Press National Open University of Nigeria Headquarters University Village Plot 91, Cadastral Zone Nnamdi Azikiwe Expressway Jabi, Abuja Lagos Office 14/16 Ahmadu Bello Way Victoria Island, Lagos e-mail: [email protected] URL: www.nou.edu.ng All rights reserved. No part of this book may be reproduced, in any form or by any means, without permission in writing from the publisher. Printed: 2021 ISBN: 978-978-058-061-2 2 CONTENTS Introduction Intended Learning Outcomes Study Units Textbooks and References Self-Assessment Exercise Final examination and Grading Course Modules/Units What You will Need in the Course Facilitators/Tutors and Tutorials Conclusion Summary 3 INTRODUCTION You are welcome to FMC 212 - Visual Language of Film. This course is designed for communication students in the Faculty of Social sciences. It is designed to help you acquire detailed knowledge of visual communication. After going through this course, you would be able to master the art of making use of all forms of visual communication. You will also be equipped with the knowledge needed to work in different sectors where the skills of visual communicators are needed. This Course Guide provides you with the necessary information about the contents of the course and the materials you need to be familiar with for a proper understanding of the subject matter. It also provides you with the knowledge on how to undertake your assignments. -
Rosenblum: Photographers at Work: a Sociology of Photographic Styles
Studies in Visual Communication Volume 6 Issue 1 Spring 1980 Article 13 1980 Rosenblum: Photographers at Work: A Sociology of Photographic Styles Dan Schiller Centre for Mass Communication Research, University of Leicester; Temple University Recommended Citation Schiller, D. (1980). Rosenblum: Photographers at Work: A Sociology of Photographic Styles. 6 (1), 87-90. Retrieved from https://repository.upenn.edu/svc/vol6/iss1/13 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol6/iss1/13 For more information, please contact [email protected]. Rosenblum: Photographers at Work: A Sociology of Photographic Styles This reviews and discussion is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol6/ iss1/13 Reviews and Discussion 87 derlying assumptions of the system or the powerful analytic capacity that it has. Nahumck is successful in this book to the extent Barbara Rosenblum. Photographers at Work: A that she introduces Laban's concepts and gives the Sociology of Photographic Styles. New York and reader some idea of the scope and conceptual power London: Holmes and Meier Publishers, 1978, 144 pp. of his system. She clearly documents her belief, which I share, in the primacy of Laban's system as the most $19.50. precise one available for analyzing movement in its Reviewed by Dan Schiller own terms. The book is particularly useful for readers Centre for Mass Communication Research, University of interested in a purely structural application of the nota tion system independent of the kinesthetic context, Leicester; Temple University. such as the comparative analysis of the steps of two related dance forms. -
The Importance of Vision Linda Lawrence MD, Richard D House
The Importance of Vision Linda Lawrence MD, Richard D House, BFA, BA, Lauren E Vaughan, BFA, Namita Jacob PhD December 2017 Introduction Why is the vision so important? What special role does it play in learning and guiding development from the moment of birth? What is the value of good visual functioning? How does vision affect and impact the development and activities of daily living of children and adolescents? The peripheral organs responsible for vision in humans are the eyes. Through a complex pathway that begins with focusing of the image by the eye, reception and transformation of light rays into neurological information is transmitted to the brain where we “see”. The information is then stored in the occipital lobe (the brain’s visual processing center) and is in turn transferred to other regions of the brain, where interpretation and use for motor (movement), cognition (thinking), learning and social interactions take place. Taste via the tongue’s gustatory pathways, smell through the nose’s olfactory pathways, hearing from the ears’ auditory pathways, and touch from the skin’s somatosensory pathways are the other peripheral senses that gather information from the environment and ultimately may rely on vision for interpretation. All this information is transported via complex biochemical and electrochemical pathways through the body, and integrated it into a meaningful context in the brain that is eventually acted upon by the person. Vision, as experienced through the visual system and visual perception, allows us to observe and extract information from the outside environment. Vision provides information that is not available through the other senses, and works in conjunction with different systems to help orient us in the environment, in time and space and at different ages and stages. -
Maps and Diagrams. Their Compilation and Construction
~r HJ.Mo Mouse andHR Wilkinson MAPS AND DIAGRAMS 8 his third edition does not form a ramatic departure from the treatment of artographic methods which has made it a standard text for 1 years, but it has developed those aspects of the subject (computer-graphics, quantification gen- erally) which are likely to progress in the uture. While earlier editions were primarily concerned with university cartography ‘ourses and with the production of the- matic maps to illustrate theses, articles and books, this new edition takes into account the increasing number of professional cartographer-geographers employed in Government departments, planning de- partments and in the offices of architects pnd civil engineers. The authors seek to ive students some idea of the novel and xciting developments in tools, materials, echniques and methods. The growth, mounting to an explosion, in data of all inds emphasises the increasing need for discerning use of statistical techniques, nevitably, the dependence on the com- uter for ordering and sifting data must row, as must the degree of sophistication n the techniques employed. New maps nd diagrams have been supplied where ecessary. HIRD EDITION PRICE NET £3-50 :70s IN U K 0 N LY MAPS AND DIAGRAMS THEIR COMPILATION AND CONSTRUCTION MAPS AND DIAGRAMS THEIR COMPILATION AND CONSTRUCTION F. J. MONKHOUSE Formerly Professor of Geography in the University of Southampton and H. R. WILKINSON Professor of Geography in the University of Hull METHUEN & CO LTD II NEW FETTER LANE LONDON EC4 ; © ig6g and igyi F.J. Monkhouse and H. R. Wilkinson First published goth October igj2 Reprinted 4 times Second edition, revised and enlarged, ig6g Reprinted 3 times Third edition, revised and enlarged, igyi SBN 416 07440 5 Second edition first published as a University Paperback, ig6g Reprinted 5 times Third edition, igyi SBN 416 07450 2 Printed in Great Britain by Richard Clay ( The Chaucer Press), Ltd Bungay, Suffolk This title is available in both hard and paperback editions. -
Graph Visualization and Navigation in Information Visualization 1
HERMAN ET AL.: GRAPH VISUALIZATION AND NAVIGATION IN INFORMATION VISUALIZATION 1 Graph Visualization and Navigation in Information Visualization: a Survey Ivan Herman, Member, IEEE CS Society, Guy Melançon, and M. Scott Marshall Abstract—This is a survey on graph visualization and navigation techniques, as used in information visualization. Graphs appear in numerous applications such as web browsing, state–transition diagrams, and data structures. The ability to visualize and to navigate in these potentially large, abstract graphs is often a crucial part of an application. Information visualization has specific requirements, which means that this survey approaches the results of traditional graph drawing from a different perspective. Index Terms—Information visualization, graph visualization, graph drawing, navigation, focus+context, fish–eye, clustering. involved in graph visualization: “Where am I?” “Where is the 1 Introduction file that I'm looking for?” Other familiar types of graphs lthough the visualization of graphs is the subject of this include the hierarchy illustrated in an organisational chart and Asurvey, it is not about graph drawing in general. taxonomies that portray the relations between species. Web Excellent bibliographic surveys[4],[34], books[5], or even site maps are another application of graphs as well as on–line tutorials[26] exist for graph drawing. Instead, the browsing history. In biology and chemistry, graphs are handling of graphs is considered with respect to information applied to evolutionary trees, phylogenetic trees, molecular visualization. maps, genetic maps, biochemical pathways, and protein Information visualization has become a large field and functions. Other areas of application include object–oriented “sub–fields” are beginning to emerge (see for example Card systems (class browsers), data structures (compiler data et al.[16] for a recent collection of papers from the last structures in particular), real–time systems (state–transition decade). -
Toward Unified Models in User-Centered and Object-Oriented
CHAPTER 9 Toward Unified Models in User-Centered and Object-Oriented Design William Hudson Abstract Many members of the HCI community view user-centered design, with its focus on users and their tasks, as essential to the construction of usable user inter- faces. However, UCD and object-oriented design continue to develop along separate paths, with very little common ground and substantially different activ- ities and notations. The Unified Modeling Language (UML) has become the de facto language of object-oriented development, and an informal method has evolved around it. While parts of the UML notation have been embraced in user-centered methods, such as those in this volume, there has been no con- certed effort to adapt user-centered design techniques to UML and vice versa. This chapter explores many of the issues involved in bringing user-centered design and UML closer together. It presents a survey of user-centered tech- niques employed by usability professionals, provides an overview of a number of commercially based user-centered methods, and discusses the application of UML notation to user-centered design. Also, since the informal UML method is use case driven and many user-centered design methods rely on scenarios, a unifying approach to use cases and scenarios is included. 9.1 Introduction 9.1.1 Why Bring User-Centered Design to UML? A recent survey of software methods and techniques [Wieringa 1998] found that at least 19 object-oriented methods had been published in book form since 1988, and many more had been published in conference and journal papers. This situation led to a great 313 314 | CHAPTER 9 Toward Unified Models in User-Centered and Object-Oriented Design deal of division in the object-oriented community and caused numerous problems for anyone considering a move toward object technology. -
Chapter 6: Visual Communication
Chapter 6: Visual Communication This chapter will introduce you to some basic concepts in communicating with an audience through computer graphics. It will discuss the use of shapes, color, lighting, viewing, labels and legends, and motion, present issues in creating meaningful interaction and taking cultural differences into account in communication, and describe several techniques for presenting higher-dimensional information to the user. These discussions use a number of examples, and the chapter shows you how to implement many of these in OpenGL. This is something of an eclectic collection of information but it will give you valuable background on communication that can help you create more effective computer graphics programs. When you have completed this chapter, you should be able to see the difference between effective and ineffective graphics presentations and be able to identify many of the graphical techniques that make a graphic presentation effective. You should also be able to implement these techniques in your own graphics programming. In order to benefit from this chapter, you need an understanding of the basic concepts of communication, of visual vocabularies for different kinds of users, and of shaping information with the knowledge of the audience and with certain goals. You also need enough computer graphics skills to understand how these communications are created and to create them yourself. Introduction Computer graphics has achieved remarkable things in communicating information to specialists, to informed communities, and to the public at large. This is different from the entertainment areas where computer graphics gets a lot of press because it has the goal of helping the user of the interactive system or the viewer of a well-developed presentation to have a deeper understanding of a complex topic. -
Infovis and Statistical Graphics: Different Goals, Different Looks1
Infovis and Statistical Graphics: Different Goals, Different Looks1 Andrew Gelman2 and Antony Unwin3 20 Jan 2012 Abstract. The importance of graphical displays in statistical practice has been recognized sporadically in the statistical literature over the past century, with wider awareness following Tukey’s Exploratory Data Analysis (1977) and Tufte’s books in the succeeding decades. But statistical graphics still occupies an awkward in-between position: Within statistics, exploratory and graphical methods represent a minor subfield and are not well- integrated with larger themes of modeling and inference. Outside of statistics, infographics (also called information visualization or Infovis) is huge, but their purveyors and enthusiasts appear largely to be uninterested in statistical principles. We present here a set of goals for graphical displays discussed primarily from the statistical point of view and discuss some inherent contradictions in these goals that may be impeding communication between the fields of statistics and Infovis. One of our constructive suggestions, to Infovis practitioners and statisticians alike, is to try not to cram into a single graph what can be better displayed in two or more. We recognize that we offer only one perspective and intend this article to be a starting point for a wide-ranging discussion among graphics designers, statisticians, and users of statistical methods. The purpose of this article is not to criticize but to explore the different goals that lead researchers in different fields to value different aspects of data visualization. Recent decades have seen huge progress in statistical modeling and computing, with statisticians in friendly competition with researchers in applied fields such as psychometrics, econometrics, and more recently machine learning and “data science.” But the field of statistical graphics has suffered relative neglect. -
Defining Visual Rhetorics §
DEFINING VISUAL RHETORICS § DEFINING VISUAL RHETORICS § Edited by Charles A. Hill Marguerite Helmers University of Wisconsin Oshkosh LAWRENCE ERLBAUM ASSOCIATES, PUBLISHERS 2004 Mahwah, New Jersey London This edition published in the Taylor & Francis e-Library, 2008. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Copyright © 2004 by Lawrence Erlbaum Associates, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microform, retrieval system, or any other means, without prior written permission of the publisher. Lawrence Erlbaum Associates, Inc., Publishers 10 Industrial Avenue Mahwah, New Jersey 07430 Cover photograph by Richard LeFande; design by Anna Hill Library of Congress Cataloging-in-Publication Data Definingvisual rhetorics / edited by Charles A. Hill, Marguerite Helmers. p. cm. Includes bibliographical references and index. ISBN 0-8058-4402-3 (cloth : alk. paper) ISBN 0-8058-4403-1 (pbk. : alk. paper) 1. Visual communication. 2. Rhetoric. I. Hill, Charles A. II. Helmers, Marguerite H., 1961– . P93.5.D44 2003 302.23—dc21 2003049448 CIP ISBN 1-4106-0997-9 Master e-book ISBN To Anna, who inspires me every day. —C. A. H. To Emily and Caitlin, whose artistic perspective inspires and instructs. —M. H. H. Contents Preface ix Introduction 1 Marguerite Helmers and Charles A. Hill 1 The Psychology of Rhetorical Images 25 Charles A. Hill 2 The Rhetoric of Visual Arguments 41 J. Anthony Blair 3 Framing the Fine Arts Through Rhetoric 63 Marguerite Helmers 4 Visual Rhetoric in Pens of Steel and Inks of Silk: 87 Challenging the Great Visual/Verbal Divide Maureen Daly Goggin 5 Defining Film Rhetoric: The Case of Hitchcock’s Vertigo 111 David Blakesley 6 Political Candidates’ Convention Films:Finding the Perfect 135 Image—An Overview of Political Image Making J. -
Designing for Social Data Analysis
IEEE TRANSACTIONS ON VISUALIZATION AND COMPUTER GRAPHICS, VOL. 12, NO. 4, JULY/AUGUST 2006 549 Designing for Social Data Analysis Martin Wattenberg and Jesse Kriss Abstract—The NameVoyager, a Web-based visualization of historical trends in baby naming, has proven remarkably popular. We describe design decisions behind the application and lessons learned in creating an application that makes do-it-yourself data mining popular. The prime lesson, it is hypothesized, is that an information visualization tool may be fruitfully viewed not as a tool but as part of an online social environment. In other words, to design a successful exploratory data analysis tool, one good strategy is to create a system that enables “social” data analysis. We end by discussing the design of an extension of the NameVoyager to a more complex data set, in which the principles of social data analysis played a guiding role. Index Terms—Design study, time-varying data visualization, human-computer interaction, social data analysis. æ 1INTRODUCTION N February of 2005, Laura Wattenberg, the wife of the first self-reports also lead to an observation about the Name- Iauthor, published a guide to American baby names called Voyager: Usage patterns are strongly social and seem more The Baby Name Wizard [16]. To help call attention to the closely related to those of online multiplayer games than to book, a Web-based visualization applet, the NameVoyager a conventional single-user statistical tool. Indeed, users [10], was launched. The NameVoyager lets users interac- seem to fall neatly into Richard Bartle’s well-known tively explore name data—specifically, historical name popularity figures. -
Graphic Design (Visual Communication)
VISUAL & PERFORMING ARTS GRAPHIC DESIGN (VISUAL COMMUNICATION) WHAT IS GRAPHIC DESIGN? DEGREE Graphic Design (visual communication), Bachelor of Fine Arts (BFA) | also a Minor is the practice of visual problem solving through POTENTIAL MINORS the organization of text, images, and content Art | Art History | Entrepreneurship | Illustration in a way that is meaningful, visually compelling, Marketing | Painting | Sculpture | Theatre Arts and serves to communicate an idea or topic. CAREER PATHS The field of graphic design is broad, diverse, To name a few: Brand Design | Packaging Design and ever-evolving. The faculty at Daemen UX Design | Print /Digital Production | Web Design College comes from a range of backgrounds, Exhibition Design | Motion Graphics | Freelance which enables various perspectives and skillsets Digital/Social Media | Art Direction | Advertising that prepare students to enter the field as a Creative Direction | In-House Design | Wayfinding design professional. The program features: • f oundational skill building through classes “Daemen College is a very supportive that focus on design foundations, and community, with so many ways for conceptual problem solving an artist and designer to learn and • skills training through technical try different things. I had amazing lessons, demos, and practical projects professors who — rather than put me in a box by teaching just one way to • contextual skill development through draw, for example, saw how I worked theory, history, and culture teachings and found ways to help me progress.”